КОЛАС РАННУ ФАБЬЕН (Университет Клермон Овернь, Франция). Анатолийский взгляд на ликийское искусство? Размышления об историографии исследований по ликийскому искусству (XIX–XX вв.)
FABIENNE COLAS RANNOU (Clermont Auvergne University, France). An Anatolian Perspective for Lycian art? A Reflection on Historiography of Studies on Lycian Art (19th – 21st Centuries)
Ancient Lycia was located in Southern part of Anatolia. This Anatolian area is known for its spectacular stone monuments, specially tombs, which could be adorned with reliefs and sometimes with freestanding figures. Thus, Lycian art is mainly composed by sculpture, an important corpus can be dated from the 6th c. to the 4th century BC. Recent studies on Lycian art have clearly shown how an Anatolian background was ingeniously mixed with borrowings from Greek and Oriental visual cultures. Other sources are also available, such as ancient Greek texts, Greek and Lycian inscriptions, coins, ceramics, which allow to understand the history of Lycia. Thus, we know that Lycia was included in the Persian Empire from the middle of the 6th century BC until the conquest of Alexander the Great, and throughout this period maintained relations with the Ancient Greek world.
The main questions while studying Lycian art are both: How to study areas of contacts through visual arts? and How to study visual arts produced or created in areas of contacts? They lead to reflect further on methodology, theory or concepts which can be used, and on historiography.
In that context, stylistic studies, iconography and iconology are closely related.
During the 19th century AD, Lycian sculpture attracted the European scholars’ interest and large pieces of Lycian sculpture have been moved to European museums (in London and Vienna).
The names given, since the 19th century, to the most famous Lycian monuments, the so-called “Harpy Tomb” and “Nereid Monument”, are relevant. They express a way of studying Lycian art which promoted a “classical” approach, by proposing Greek mythological names for Lycian figures. The fact that the style of carving was close to the Greek one has led to such interpretations.
The paper aims to propose elements for a reflection on the historiography of studies on Lycian art, focusing on stylistic and iconographic approaches. It will develop several themes: the impact of 19th century European cultural history as well as 20th century European history, on the reception of Lycian stone monuments and sculpture ; the impact of traditional academic fields on the way of approaching Lycian art; an emerging, new and broader perspective that restores importance to the Anatolian background. It will be based on case studies, notably the sogenannte “Harpy Tomb” and “Nereid monument” mentioned above, which will also lead to an interest in the history of the collection of the British museum in London
Ликия, скульптура, стиль, иконография, интерпретация, рецепции, историография
Lycia, sculpture, style, iconography, interpretation, reception, historiography